Arré - Pop Culture
Arré
- POP CULTURE -
In film after film, in Chhoti Si Baat and Baaton Baaton Mein, in the universes of Basu Chatterjee and Hrishikesh Mukherjee, on public transport and in Bandra apartments, Amol Palekar played the man on the street. Who else could essay a white-collar worker with the soul of a poet, who you might meet on a train or a bus, if not him?
It was with great anticipation that I awaited Modern Love, the Amazon Prime Original show which dramatises, with fictional flourishes, some well-loved Modern Love columns. But I needn’t have held my breath. The show takes everything that makes the column series profound, and flattens the hell out of it.
Batla House, the John Abraham-starring film, will no doubt open to praise and paisa, unfettered by the fact that, 11 years later, the actual encounter that saw two alleged terrorists and police officer MC Sharma killed, is still one of the murkiest cases in the annals of Delhi Police’s speckled history.
Greek mythology is full of lusty satyrs and centaurs that sleep with goddesses. Hokusai's “The Dream of the Fisherman’s Wife” is considered an early progenitor of tentacle porn. And The Shape of Water is a story, lush with adult desires, about outsiders. Why are we so fascinated by beasts and monsters?
Diljit Dosanjh is an unlikely hero for Bollywood. As Soorma releases today, I can’t remember the last time someone with such son-of-the-soil appeal made it as a leading man in a mainstream film.
In 2016, we saw movies like Pink and Dangal that were premised on the struggles of female heroes – and the men who enabled them.
La La Land reminds you of what love used to feel like, before we dived headfirst into the age of irony and started to abide by an uncodified playbook.